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Offline / Online workflow, reverting prores Proxies back to Original file (5d, h264)
Hey guys, I edited a project with Prores proxy files. During the log and transfer phase, files were given filenames such as the project name, reel, then clip number.
The original footage was shot on a 5d. I’d like to reconnect the files back to the h264 files.
The big picture is… I’d like the transfer the project over to FCP X, but if I can get these files back to h264 that would be great, I know FCPX will handle the rest by creating optimized media and it’s smoothing sailing from there. One solutions as to use davinci, but I don’t want to lose the markers I have.
I would be using 7toX to transfer the sequence, and if I did that as-is, the proxy files would be treated as master files, which is bad. Very bad.
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12 Replies
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There’s an app called retooled.net but it doesn’t work for Maverick. Basically it can relink using the file’s duration, which is really all I got since it’s 5d footage (time code different from the source), and file names (log and transfer).
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If you used LOG AND TRANSFER to convert the footage to Proxy, then all you need to do is select the sequence, go into the MEDIA MANAGER and use the MAKE OFFLINE option, use 30-60 frame handles. Then choose the quality you want to reimport the media. I suggest ProRes 422.
FCP 7 will not simply reconnect to the H.264 masters…Because FCP 7 doesn’t work with H.264. And because the h.264 originals lack a lot of the metadata that FCP created when it made them, like REEL NUMBERS. Reel Numbers refer to the card name you gave to the card backup. Log and Transfer will find that and see that number and reimport the footage as ProRes 422, or whatever codec you chose.
It won’t relink to the H.264 originals…sorry. That is something FCX will do, because it’s a bit more advanced. But ProRes 422 will get you all the quality you can get from your 8-bit originals. And Resolve doesn’t work with H.264 anyway…it doesn’t like that format any more than FCP does…
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
hi Shane, excuse my poor english,
i’m working with the offline/online workflow because the huge of the original video material, but in some cases, with particular cards (backed up, of course) the LOG AND TRANSFER don’t work at all: simply tells me that the clips are missing. Obviously i am watching those clips, the originals h264 do exist, but the FCP don’t find. I wonder if there is a problem with the strucuture of the card, the .ctg file or the .cr2 files or what?
i really apreciate if you have a solve for this, i see you are a experienced guy in this métier…
thanks in advancemacpro osx 10.8.5
FCP 7.0.3
5d mark III original firmware -
Thats strange because ive been importing my 5d mark iii h264 masters directly on davinci to apply a general lut then export to ProRes to cut in FCP7 and it worked like a charm,i then do my final output from FCP7. I understand that this way files are only being compressed twice in the workflow.
Before i used to convert all to ProRes via mpeg streamclip, edit in FCP7, export xml for da vinci to do my grading then recompress to ProRes for relinking and then finally compressing for final output which is usually web.
Any thoughts?
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[Arturo Dickson] “Thats strange because ive been importing my 5d mark iii h264 masters directly on davinci to apply a general lut then export to ProRes to cut in FCP7 and it worked like a charm”
How is that strange? Because if you are exporting ProRes 422 or HQ…then you are working full res. If you export ProRes Proxy, and then online with Resolve, it is the one doing the tracking for you…so in essence IT is doing the “log and transfer.”
[Arturo Dickson] ” then do my final output from FCP7.”
Ah…yes, then you are working full res.
[Arturo Dickson] “I understand that this way files are only being compressed twice in the workflow.”
Yes…and that’s the typical amount of compression in most workflows…a couple of times. Once to work high res, and once when you output.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Sebastián Carazay] “i’m working with the offline/online workflow because the huge of the original video material, but in some cases, with particular cards (backed up, of course) the LOG AND TRANSFER don’t work at all: simply tells me that the clips are missing. Obviously i am watching those clips, the originals h264 do exist, but the FCP don’t find.”
What camera? FCP doesn’t log and capture with all cameras. It’s been discontinued for 3 years now, and newer cameras won’t be supported.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
hi Shane,
the camera with the problem is 5D Mark III, and i’ve been investigating the folders with that particular error in LandT and i finded one coincidence in all of those: in those cards, i did open the h264 originals .movs in the AE for stabilization, and i presume that all of those cards have changed some of the internal structure (on the .ctg file or some like this)…
Have you ever heard some like that?
thank in advance! -
I don’t know…not sure if it modifies the card structure. But, you are stabilizing and creating NEW files, right? because those files aren’t the camera masters, that might be the cause. You need to import/convert, THEN stabilize.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
that’s right, i import in AE, then stabilize, then export to ProRes in other folder… the folder with the original footage remains equal to the original… but for some reason, something changes in the background, and the folder can’t be recognized by the Log and Transfer any more… hope this could help somebody .
thanks for your time! -
You said above
“Resolve doesn’t work with H.264 anyway…it doesn’t like that format any more than FCP does…”
Thats what i meant by strange since it works fine for me when i dump h264 directly into resolve to apply a general LUT to correct the vision color picture style im shooting with, THEN i export the prores for editing in FCP7, export xml, final grade in da vinci and round trip.
The reason i commented on this is because the way i learned was to ALWAYS convert to ProRes before you do ANYTHING but da vinci seems to work fine with h264. Has anyone else tried it? will it make any difference to keep it in h264 for this step?
thanks,
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